About: Kasaragod district lies in the north western coast of the state. The name, Kasaragod is said to be derived from the word Kusirakood meaning Nuxvomica forests - Kanjirakoottam. History: Lying on the north western coast of the State, Kasaragod was famous from time immemorial. Many Arab travellers, who came to Kerala between ninth and 14th centuries AD, visited Kasaragod as it was then an important trade centre. They called this area Harkwillia. Barbose, the Portuguese traveller, who visited Kumbla near Kasaragod in 1514, had recorded that rice was exported to Male Island whence coir was imported. Dr. Francis Buccanan, who was the family doctor of Lord Wellesly, visited Kasaragod in 1800. In his travelogue, he has included information on the political and communal set-up in places like Athipramba, Kavvai, Nileswaram, Bekal, Chandragiri and Manjeshwaram.
Kasaragod was part of the Kumbala Kingdom in which there were 64 Tulu and Malayalam villages. When Vijayanagar empire attackedKasaragod, it was ruled by the Kolathiri King who had Nileshwaram as his headquarters. It is said that the characters appearing in Theyyam, the ritualistic folkdance of northern Kerala, represent those who had helped King Kolathiri in the fight against the attack of the Vijayanagar empire. During the decline of that empire in the 14th century, the administration of this area was vested with the Ikkery Naikans. They continued to be the rulers till the fall of the Vijayanagar empire in 16th century. Then Vengappa Naik declared independence to Ikkery. In 1645 Sivappa Naik took the reigns and transferred the capital to Bednoor. Thus they came to be known as Bednoor Naik. Chandragiri and Bekal forts are considered to be parts of a chain of Forts constructed by Sivappa Naik
In 1763 Hyder Ali of Mysore conquered Bednoor. His intention was to capture entire Kerala. But when his attempt to conquer Thalassery fort was foiled , Hyder Ali returned to Mysore and died there in 1782.His son, Tippu Sulthan, continued the attack and conquered Malabar. As per the Sreerangapattanam Treaty of 1792, Tippu surrendered Malabar except Thulunadu (Canara) to the British. The British got it, only after the death of Tippu Sulthan in 1799
Kasaragod was part of Bekal taluk in the south Canara district of Bombay presidency. Kasaragod taluk came into being when Bekal taluk was included in the Madras presidency on 16th April 1882. Though Vengayil Kunhiraman Nayanar moved a resolution in 1913 on the floor of Madras Governor's Council demanding the merger of Kasaragod taluk with the Malabar district, it had to be withdrawn because of the stiff opposition of the members from Karnataka. In1927, a political convention held at Kozhikode, passed a resolution stressing the above demand. In the same year, an organisation titled Malayalee Seva Sanghom was constituted. Thanks to the efforts made by many eminent persons like K.P.Kesava Menon, Kasaragod became part of Kerala following the reorganisation of states and formation of Kerala on the first November 1956.
Legends & Facts: There are different views on the derivation of the name "KASARAGOD". One view is that it is the combination of two Sanskrit words kaasaara (which means lake or pond) and kroda (which means a place where treasure is kept). Another view is that it is the place where Kaasaraka trees (Strychnos nux vomica or Kaanjiram or Kaaraskara) are in abundance. Bothe views are relavant as there are large number of rivers, lakes and ponds in the coastal belt of the district besides thick flora consisting of innumerable varieties of trees, shribs etc. particularly plentitude of Kaasaraka trees.
Kasaragod was part of the Kumbala Kingdom in which there were 64 Tulu and Malayalam villages. When Vijayanagar empire attackedKasaragod, it was ruled by the Kolathiri King who had Nileshwaram as his headquarters. It is said that the characters appearing in Theyyam, the ritualistic folkdance of northern Kerala, represent those who had helped King Kolathiri in the fight against the attack of the Vijayanagar empire. During the decline of that empire in the 14th century, the administration of this area was vested with the Ikkery Naikans. They continued to be the rulers till the fall of the Vijayanagar empire in 16th century. Then Vengappa Naik declared independence to Ikkery. In 1645 Sivappa Naik took the reigns and transferred the capital to Bednoor. Thus they came to be known as Bednoor Naik. Chandragiri and Bekal forts are considered to be parts of a chain of Forts constructed by Sivappa Naik
In 1763 Hyder Ali of Mysore conquered Bednoor. His intention was to capture entire Kerala. But when his attempt to conquer Thalassery fort was foiled , Hyder Ali returned to Mysore and died there in 1782.His son, Tippu Sulthan, continued the attack and conquered Malabar. As per the Sreerangapattanam Treaty of 1792, Tippu surrendered Malabar except Thulunadu (Canara) to the British. The British got it, only after the death of Tippu Sulthan in 1799
Kasaragod was part of Bekal taluk in the south Canara district of Bombay presidency. Kasaragod taluk came into being when Bekal taluk was included in the Madras presidency on 16th April 1882. Though Vengayil Kunhiraman Nayanar moved a resolution in 1913 on the floor of Madras Governor's Council demanding the merger of Kasaragod taluk with the Malabar district, it had to be withdrawn because of the stiff opposition of the members from Karnataka. In1927, a political convention held at Kozhikode, passed a resolution stressing the above demand. In the same year, an organisation titled Malayalee Seva Sanghom was constituted. Thanks to the efforts made by many eminent persons like K.P.Kesava Menon, Kasaragod became part of Kerala following the reorganisation of states and formation of Kerala on the first November 1956.
Legends & Facts: There are different views on the derivation of the name "KASARAGOD". One view is that it is the combination of two Sanskrit words kaasaara (which means lake or pond) and kroda (which means a place where treasure is kept). Another view is that it is the place where Kaasaraka trees (Strychnos nux vomica or Kaanjiram or Kaaraskara) are in abundance. Bothe views are relavant as there are large number of rivers, lakes and ponds in the coastal belt of the district besides thick flora consisting of innumerable varieties of trees, shribs etc. particularly plentitude of Kaasaraka trees.
Kasaragod played a prominent role in the National Movement for the freedom of the country. Mohammed Sherul Sahib and Kandige Krishna Bhat were the frontline leaders of the independence movement. Umesh Rao, K.M. Krishnan Nambiar, Shreesankarji, Naranthatta Raman Nair, A.C. Kannan Nair, T.Gopalan Nair and Meloth Narayanan Nambiar were prominent freedom fighters.
The agrarian struggle to end the exploitation and oppression by landlords and chieftains were part of the National Movement. The Kadakom Sathyagraha was started following the arrest of Gandhiji in 1932. The Palayi Harvest Agitation (1941), Cheemeni Estate Struggle (1942), Kayyur Agrarian Riot (1944), Eleri Estate Agitation (1946), Karinthalam Paddy Seizure Revolt (1948) and many other struggles waged by the peasant organisations accelerated the tempo of the freedom movement. Besides the agitation of the peasants, the various struggles unleashed for the uplift of the scheduled castes and tribes also supported and enlivened the National Movement.
Topography: Kasaragod district lies between 110 18' and 120 48' north latitudes and between 740 52' and 750 26' east longitudes. The district is marked off from the adjoining areas outside the State by the Western Ghats, which run parallel to the sea and constitute an almost continuous mountain wall on the eastern side. The Ghats dominate the topography. The cost line is fringed with low cliffs alternating with stretches of sand. A few miles to the interior, the scene changes and the sand level rises towards the barrier of the Ghats and transforms into low red laterite hills interspersed with paddy fields and coconut gardens.
The district is bounded in the east by the Western Ghats, in the west by the Arabian sea, the north by the Canara district of Karnataka and in the south by the Kannur District. Based on physical features the district falls into three natural divisions-the low land bordering the sea, the mid land consisting of the undulating country and the forest clad highland on the extreme east.
Climate: The diversity of the physical features results in a corresponding diversity of climate. In the plains, the climate is generally hot. Though the mean maximum temperature is only around 900 F, the heat is oppressive in the moisture-laden atmosphere of the plains. Humidity is very high and rises to about 90 per cent during the southwest monsoon. The annual variation of temperature is small; the diurnal range is only about 100 F.
The south-west monsoon starts towards the end of May or the beginning of June, heralded by thunder-storms and holds till September when the rain fades out. October brings in the north-east monsoon. Dry weather sets in by the end of December. January and February are the coolest months of the year. March, April and May are generally very hot.
Forest: Kasaragod district has a forest area of 117.5412. sq. kms. falling under the Kannur Forest Division. Reserve forest stretches to 86.0221 sq.kms. and vested forest, to 28.4971 sq.kms. It stretches in two ranges-Kasaragod and Kanhangad. The forest produces are shegaibark, sheakoy, cardamom, canes, fibres, etc. Sambar, the fastest deer, is seen in some areas. Wild boars are a nuisance to the cultivators of hilly areas.
Rivers: There are 12 rivers in this district. The longest is Chandragiri (105 kms.) originating from Pattimala in Coorg and embraces the sea at Thalangara. The river assumes its name Chandragiri from the name of the place of its source Chandragupta Vasti; where the great Maurya emperor Chandragupta, is believed to have spent his last days as a sage. The second longest river is Kariankod (64 kms.), across which a dam is being built at Kakkadavu. Shiriya (61 kms.), Uppala (50 kms.), Mogral (34 kms.), Chithari (25 kms.), Nileshwaram (47 kms.), Kavvayi (23 kms.), Manjeswaram (16 kms.), Kumbala (11 kms.), Bekal (11 kms.) and Kalanad (8 kms.) are the other rivers. These rivers provide ample irrigation facilities.
Cultural Heritage: Kasargod offers a variety of patterns of arts which speaks volumes about the rich cultural heritage of regions. The spectacular pageant of Theyyam deities impassinated - raises Kasargod into a land of fabulous fantasies. The symphonic melody created by Yakshgana, Kambala (buffallo race), Cock fight etc. of the Thulanad culture, thrilling along with poorakkali, Kolkali, Duff Mutt, Oppana etc. enchants the visitors.
Cultural Heritage: Kasargod offers a variety of patterns of arts which speaks volumes about the rich cultural heritage of regions. The spectacular pageant of Theyyam deities impassinated - raises Kasargod into a land of fabulous fantasies. The symphonic melody created by Yakshgana, Kambala (buffallo race), Cock fight etc. of the Thulanad culture, thrilling along with poorakkali, Kolkali, Duff Mutt, Oppana etc. enchants the visitors.
Languages: Kasargod is a land of different languages. The languages without script are also used here. Tulu, Kannada, Malayalam, Konkani, Tamil and other local languages are the popular.
Performance: The Theyyam dance is generally performed in front of the village shrines.and Tharavadu House, (Joint family House) as ancestor worship with elaborate rites and rituals. There is no stage or curtain and it is performed in an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The Chief dancer who propitiates the central deity of the shrine has to reside in the the aniyara( green room) and observe vegetarianism, fasting etc. as a part of rituals. Further, after the sunset, this particular dancer would not eat anything as a legacy of Jainism. His make up is done by specialist and others. First part of the performance is usually known as `Thottam’ or `Vellattam’. It is performed in the night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The dancer along with the drummers recites the particular ritual song which describes the myths and legends of the particular deity. After finishing this primary ritualistic part of the invocation., the dancer returns to the Aniyara( green room). After the interval, he appears with proper make up and costumes and with face painting. There are different types of face painting for which primarily and secondary colours are used. It had effected certain stylization also. Then the dancer comes in front of the shrine or sthanam, and gradually metamorphises’ as the particular deity of shine. After observation of certain rituals, the helpers places the head dress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands as continuation of the cult of weapon. Then the dancer circumambulates the shrine, runs in the courtyard and dances. The Theyyam dance has different steps known as “Kalasams”. Each Kalasam is repeated systematically from first to eight system of footwork. A performance is a combination of plying of musical instruments, vocal recitation, dance and strange make up and costumes. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala.
Social Content: As a sacred theatre followed with elaborate rituals the Theyyam performance has a difficult meaning and social content entirely different from other theatrical forms. The village shrines groves and cult spots are maintained by the caste councils or village elders for bringing prosperity to the village. In such places the village goddess or Bhagavathis named after that particular locality are propitiated as an ancient practice. The Theyyam festival of that particular shrine has a meaning and purpose. The elaborate rituals observed in these shrines including the preparation of the Kalan or square are intended for blessing of the super nature. Along with the Kalan or square an earthen decorated vessel with areca flowers containing toddy is placed on a platform. It symbolises the womb of mother goddesses. It is the significant aspect of the fertility cult. Offerings of cereals, cock blood, red flowers, etc are made in front of the Kalasam or Kalan., These rituals are responsible as being believed for the blessings of the super nature for prosperity in men and women, cattle and wealth. The dancer throws rice on the audience and distributes turmeric powder as symbols of blessings. Turmeric powder has high medicinal value, against small pox, etc.
The entire village folk attend the Theyyam festival in the village shrines and the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals (Kaliyattoms) of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees from the cult centre itself such feasts in favour of the mother goddesses and Kaliyattam take place one in 5 years or 25 years. Different castes and communities participate in such festivals.
They share the expenditure by way of donation. Compulsory levy is also imposed up on the members of the particular caste who own the shrine and offerings made by the devotees. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.
The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. These artists belong to the socially degraded group and only at the time of their performance get a social status and they are been respected by the devotees. It is a seasonal occupation to these groups. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. Now these people get reasonable payment. Cloth, coconut, rice, paddy and coconut oil are also being given.
Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist. An eminent artist generally achieves mastery over all these branches. They are recitation of Theyyam song or Thottam, make up, preparation of costumes, playing of instruments and dancing. There are about one hundred thottam songs pertaining to different gods and goddesses. Some of them are lengthy texts including the legends, myths and traditions of their respective folk deities. These songs are to be memorized by the artist. The methods of recitation and oral revelation like `Varavili` are to be mastered. The ragas or melody vary from one context to the other. Thus he must posses some knowledge of musicology.
Costumes: The make up involves face painting a different styles and body decoration. Different costumes like leaf dress or Tazha Adai, headdress or muti, `arayoda’ or Vattoda and other body decorations are to be prepared by the artists for performance. Some of the costumes are made up of tender coconut leaves and they are used only for single performance. Some head crowns and masks are used in different occasions. Preparation of these items requires proper skill and craftsmanship and perfect knowledge of primary and secondary colour combinations
The artist has to master the skill to play the folk musical instruments, which have an important place in the Theyyam performance. Most important item of the performance is dancing. Normally instruction is imported when a boy is 7 or 8 years old. It takes 8 or 10 years to master everything of the performance. The teaching of Theyyam dance is given in a `gurukula model’. The eminent dancer teaches his sons, nephews or relatives and when they learn this they will also assist as make up men or drummers. They appear in minor and unimportant items of deities in the village festivals. In certain dance items a dance has to wear burning wicks around his waist and observe fire walk wearing the heavy headdress. He has to learn the method of weight distribution by moving hands, shoulders and legs. There is every possibilities of an accident for an unskilled artist who perform the Theyyam of Muchilot Bhagavathy, Kannangat Bhagavathy and Patakkathi Baghavathi.
Morning hours are used for instruction. Oil massage is applied to the body of a young dancer. A good training in Kalaripayattu is a must for the Theyyam artist who performs the role of hero deities like, Kathivannur Veeran, Poomaruthan, Pataveeran and many others.
The Theyyam traditions and arts inherited by a son from his father, or a nephew from his uncle. This practice continued uninterruptedly for centuries. As it was a ritual art without rituals and rites, it has no existence and thus its growth was arrested and restricted.
Stylization: Theyyam is a developed art form and hence systematic stylization had taken place in the course of its development. Most of the Theyyam dances maintain a unique style pertaining to the performance of each deity, within an particular area. In respect of rituals and songs there may be regional variations, but the visual appearance has no much variations. It is believed that one Manakkadan Gurukkal of Karivellur, a great Theyyam artist, had effected the present style in the 16th or 17th century, under the instruction of Kolathiri Raja. Following this tradition the Kolathiri or chieftains used to distribute the title like Manakkadan, Perumalayan, Peruvannan etc. to the distinguished Theyyam artists.
Theyyam is mainly intended to propagate religions, Hindu mythology, and belief even among the uneducated masses. There the art form is considered only as medium of communication and the cult centre where it is performed is a sacred centre of social organisation . The continued patronage of the masses makes it popular ritual art.
Caste & Agrarian Relations: The agrarian society had contributed the cult of theyyam. This society had been organised in a caste hierarchical system. The inferior caste members had patronized their own Theyyam deities. The main deities propitiated by certain castes are given below.
1. Kammalas or Blacksmith Bali Theyyam
2. Thiyyas or Ezhavas Poomala , Vayanattu Kulavan, Kathivannur Veeran, Poomaruthan, Muthappan etc.
3. Vaniyan (oil monger) Muchilott Bhagavathy
4. Maniyanis Kannangatt Bhagavathy
5. Saliyas Chooliyar Bhagavathy
Apart from the above, many other theyyam deities were propitiated commonly by all castes.
The brahmanical temples and feudal families controlled the affairs of Theyyam. The naduvazhi played an important role in such affairs. One of the rituals of a Theyyam festival is to carry out fire or flame from a local Brahmanical temple to the village shrine. The permission for conducting a festival is necessary from the local landlord or naduvazhi. The landlords and the village elders enjoyed the right to restrict the out castes in their respective shrines. All members of a community were forced to observe traditional caste rules.
Theyyam & Local History: The myths and legends of the Theyyam deities. often relate to the local heroes and heroines. Some of their songs reflect certain episode from the local history. Divinity to these heroes had been attributed by the society. The medieval heroes like Kathivannur veeran, and Thacholi othenan were characters from local history. They were defied and worshipped for their heroism. The goddess Puthiya Bhagavathy (new) and Makkam were heroines of tragic stories. Makkam was considered to be an immoral woman by her beloved brothers. The jealousy of their wives made her a victim of their suspicion. The brothers dropped her and children in a deep well. Later she was elevated as a goddess and she was a chaste woman. This episode from local family history provided the theme for a Theyyam goddesses. A local chieftain wanted to molest a woman who had lost her several children. Her protest against the chieftain resulted in to the punishment by throwing her in a leaky country boat floated on a river. Burning fire wicks were also placed on her head. Later the memory of this woman was kept alive, by the society who elevated her to a goddess named Puthiya Bhagavathy. This Bhagavathy is a disease mother and a goddess of small pox. Many other stories like these could be traced from the myths and legends of several Theyyam gods and goddesses with deep roots in local history.
Places of Worship
Performance: The Theyyam dance is generally performed in front of the village shrines.and Tharavadu House, (Joint family House) as ancestor worship with elaborate rites and rituals. There is no stage or curtain and it is performed in an open theatre. A performance of a particular deity according to its significance and hierarchy in the shrine continues for 12 to 24 hours with intervals. The Chief dancer who propitiates the central deity of the shrine has to reside in the the aniyara( green room) and observe vegetarianism, fasting etc. as a part of rituals. Further, after the sunset, this particular dancer would not eat anything as a legacy of Jainism. His make up is done by specialist and others. First part of the performance is usually known as `Thottam’ or `Vellattam’. It is performed in the night without proper make up or decorative costume. Only a small red head dress is worn on this occasion. The dancer along with the drummers recites the particular ritual song which describes the myths and legends of the particular deity. After finishing this primary ritualistic part of the invocation., the dancer returns to the Aniyara( green room). After the interval, he appears with proper make up and costumes and with face painting. There are different types of face painting for which primarily and secondary colours are used. It had effected certain stylization also. Then the dancer comes in front of the shrine or sthanam, and gradually metamorphises’ as the particular deity of shine. After observation of certain rituals, the helpers places the head dress on his head and then dances. In the background folk musical instruments like chenda, Tuti, Kuzhal and Veekni are played with rhythm. All dancers take a shield and sword in their hands as continuation of the cult of weapon. Then the dancer circumambulates the shrine, runs in the courtyard and dances. The Theyyam dance has different steps known as “Kalasams”. Each Kalasam is repeated systematically from first to eight system of footwork. A performance is a combination of plying of musical instruments, vocal recitation, dance and strange make up and costumes. The stage practice of Theyyam and its ritualistic observations make it one of the fascination theatrical arts of India especially in northern Kerala.
Social Content: As a sacred theatre followed with elaborate rituals the Theyyam performance has a difficult meaning and social content entirely different from other theatrical forms. The village shrines groves and cult spots are maintained by the caste councils or village elders for bringing prosperity to the village. In such places the village goddess or Bhagavathis named after that particular locality are propitiated as an ancient practice. The Theyyam festival of that particular shrine has a meaning and purpose. The elaborate rituals observed in these shrines including the preparation of the Kalan or square are intended for blessing of the super nature. Along with the Kalan or square an earthen decorated vessel with areca flowers containing toddy is placed on a platform. It symbolises the womb of mother goddesses. It is the significant aspect of the fertility cult. Offerings of cereals, cock blood, red flowers, etc are made in front of the Kalasam or Kalan., These rituals are responsible as being believed for the blessings of the super nature for prosperity in men and women, cattle and wealth. The dancer throws rice on the audience and distributes turmeric powder as symbols of blessings. Turmeric powder has high medicinal value, against small pox, etc.
The entire village folk attend the Theyyam festival in the village shrines and the members of Tharavadu and relatives attend the Theyyam festivals in their Tharavadus. Some of the grand theyyam festivals (Kaliyattoms) of the Vaniya caste, Thiyya caste and Maniyani caste are followed by the common feast for the entire devotees from the cult centre itself such feasts in favour of the mother goddesses and Kaliyattam take place one in 5 years or 25 years. Different castes and communities participate in such festivals.
They share the expenditure by way of donation. Compulsory levy is also imposed up on the members of the particular caste who own the shrine and offerings made by the devotees. The elders settle major disputes and caste conflicts during Theyyam festival. It was an effective way of administration of justice in the medieval period and even continued in the days of British administration.
The Theyyam ritual dance is exclusively performed by the male members of the traditional caste groups like Vannan, Malayan, Velan, Mavilan, Pulayan and Koppalan. These sections belong to scheduled caste and tribes. They are the sole custodians of Theyyam dance. These artists belong to the socially degraded group and only at the time of their performance get a social status and they are been respected by the devotees. It is a seasonal occupation to these groups. It is a social obligation on his part to perform the Theyyam dance in their areas as a hereditary right. Now these people get reasonable payment. Cloth, coconut, rice, paddy and coconut oil are also being given.
Like many other performing arts, there are different areas in Theyyam art which are to be specialised by an artist. An eminent artist generally achieves mastery over all these branches. They are recitation of Theyyam song or Thottam, make up, preparation of costumes, playing of instruments and dancing. There are about one hundred thottam songs pertaining to different gods and goddesses. Some of them are lengthy texts including the legends, myths and traditions of their respective folk deities. These songs are to be memorized by the artist. The methods of recitation and oral revelation like `Varavili` are to be mastered. The ragas or melody vary from one context to the other. Thus he must posses some knowledge of musicology.
Costumes: The make up involves face painting a different styles and body decoration. Different costumes like leaf dress or Tazha Adai, headdress or muti, `arayoda’ or Vattoda and other body decorations are to be prepared by the artists for performance. Some of the costumes are made up of tender coconut leaves and they are used only for single performance. Some head crowns and masks are used in different occasions. Preparation of these items requires proper skill and craftsmanship and perfect knowledge of primary and secondary colour combinations
The artist has to master the skill to play the folk musical instruments, which have an important place in the Theyyam performance. Most important item of the performance is dancing. Normally instruction is imported when a boy is 7 or 8 years old. It takes 8 or 10 years to master everything of the performance. The teaching of Theyyam dance is given in a `gurukula model’. The eminent dancer teaches his sons, nephews or relatives and when they learn this they will also assist as make up men or drummers. They appear in minor and unimportant items of deities in the village festivals. In certain dance items a dance has to wear burning wicks around his waist and observe fire walk wearing the heavy headdress. He has to learn the method of weight distribution by moving hands, shoulders and legs. There is every possibilities of an accident for an unskilled artist who perform the Theyyam of Muchilot Bhagavathy, Kannangat Bhagavathy and Patakkathi Baghavathi.
Morning hours are used for instruction. Oil massage is applied to the body of a young dancer. A good training in Kalaripayattu is a must for the Theyyam artist who performs the role of hero deities like, Kathivannur Veeran, Poomaruthan, Pataveeran and many others.
The Theyyam traditions and arts inherited by a son from his father, or a nephew from his uncle. This practice continued uninterruptedly for centuries. As it was a ritual art without rituals and rites, it has no existence and thus its growth was arrested and restricted.
Stylization: Theyyam is a developed art form and hence systematic stylization had taken place in the course of its development. Most of the Theyyam dances maintain a unique style pertaining to the performance of each deity, within an particular area. In respect of rituals and songs there may be regional variations, but the visual appearance has no much variations. It is believed that one Manakkadan Gurukkal of Karivellur, a great Theyyam artist, had effected the present style in the 16th or 17th century, under the instruction of Kolathiri Raja. Following this tradition the Kolathiri or chieftains used to distribute the title like Manakkadan, Perumalayan, Peruvannan etc. to the distinguished Theyyam artists.
Theyyam is mainly intended to propagate religions, Hindu mythology, and belief even among the uneducated masses. There the art form is considered only as medium of communication and the cult centre where it is performed is a sacred centre of social organisation . The continued patronage of the masses makes it popular ritual art.
Caste & Agrarian Relations: The agrarian society had contributed the cult of theyyam. This society had been organised in a caste hierarchical system. The inferior caste members had patronized their own Theyyam deities. The main deities propitiated by certain castes are given below.
1. Kammalas or Blacksmith Bali Theyyam
2. Thiyyas or Ezhavas Poomala , Vayanattu Kulavan, Kathivannur Veeran, Poomaruthan, Muthappan etc.
3. Vaniyan (oil monger) Muchilott Bhagavathy
4. Maniyanis Kannangatt Bhagavathy
5. Saliyas Chooliyar Bhagavathy
Apart from the above, many other theyyam deities were propitiated commonly by all castes.
The brahmanical temples and feudal families controlled the affairs of Theyyam. The naduvazhi played an important role in such affairs. One of the rituals of a Theyyam festival is to carry out fire or flame from a local Brahmanical temple to the village shrine. The permission for conducting a festival is necessary from the local landlord or naduvazhi. The landlords and the village elders enjoyed the right to restrict the out castes in their respective shrines. All members of a community were forced to observe traditional caste rules.
Theyyam & Local History: The myths and legends of the Theyyam deities. often relate to the local heroes and heroines. Some of their songs reflect certain episode from the local history. Divinity to these heroes had been attributed by the society. The medieval heroes like Kathivannur veeran, and Thacholi othenan were characters from local history. They were defied and worshipped for their heroism. The goddess Puthiya Bhagavathy (new) and Makkam were heroines of tragic stories. Makkam was considered to be an immoral woman by her beloved brothers. The jealousy of their wives made her a victim of their suspicion. The brothers dropped her and children in a deep well. Later she was elevated as a goddess and she was a chaste woman. This episode from local family history provided the theme for a Theyyam goddesses. A local chieftain wanted to molest a woman who had lost her several children. Her protest against the chieftain resulted in to the punishment by throwing her in a leaky country boat floated on a river. Burning fire wicks were also placed on her head. Later the memory of this woman was kept alive, by the society who elevated her to a goddess named Puthiya Bhagavathy. This Bhagavathy is a disease mother and a goddess of small pox. Many other stories like these could be traced from the myths and legends of several Theyyam gods and goddesses with deep roots in local history.
Places of Worship
Adoor temple: Forty five kms. east of Kasaragod town, Adoor is noted for its ancient Siva Temple, believed to have been founded by Arjuna. The temple, which is known as Sri Mahalingeshwara temple, is situated in picturesque surroundings on the southern bank of the river Payaswini.
The Makara Samkramam is a very important festival day in the temple when a Sahasra Kumbha Abhishekam with feeding of a large number of people takes place. According to tradition, the day coincides with the anniversary of the day on which a harijan spotted the Sivalingam. The annual Jatra or festival of the temple starts with Dhwaja Arohanam (hoisting of the temple flag) on the 27th of Kumbham (February, March) and concludes with the Avabhritha Snanam (holy dip) in the water of the Payaswini on the fourth of Meenam (April) every year.
Ajanur Madiyan Kulom temple: In Ajanur village is situated the famous Madiyan Kulom temple. It is about five kms. from Kanhangad. The main deity of the temple is Bhadrakali; but there are also other deities like Kshetrapalan, Bhagavathi and Bhairavan. A peculiarity of this temple is that a Brahmin priest performs pooja only in the noon, while the morning and evening poojas are performed by a sect called Maniyanis.The festivals in the temple fall during the months of Edavam (May, June) and Dhanu (December, January).
Ananthapuram: At a distance of about five kms. from Kumbla is the Ananthapuram Temple which is said to be the ‘Moolasthanam’ of the Ananthapadmanabha
Swami (Sri PadmanabhaSwami Temple) of Thiruvananthapuram. Local tradition has it that Ananthapadmanabha of Thiruvananthapuram had settled down here originally.
The Makara Samkramam is a very important festival day in the temple when a Sahasra Kumbha Abhishekam with feeding of a large number of people takes place. According to tradition, the day coincides with the anniversary of the day on which a harijan spotted the Sivalingam. The annual Jatra or festival of the temple starts with Dhwaja Arohanam (hoisting of the temple flag) on the 27th of Kumbham (February, March) and concludes with the Avabhritha Snanam (holy dip) in the water of the Payaswini on the fourth of Meenam (April) every year.
Ajanur Madiyan Kulom temple: In Ajanur village is situated the famous Madiyan Kulom temple. It is about five kms. from Kanhangad. The main deity of the temple is Bhadrakali; but there are also other deities like Kshetrapalan, Bhagavathi and Bhairavan. A peculiarity of this temple is that a Brahmin priest performs pooja only in the noon, while the morning and evening poojas are performed by a sect called Maniyanis.The festivals in the temple fall during the months of Edavam (May, June) and Dhanu (December, January).
Ananthapuram: At a distance of about five kms. from Kumbla is the Ananthapuram Temple which is said to be the ‘Moolasthanam’ of the Ananthapadmanabha
Swami (Sri PadmanabhaSwami Temple) of Thiruvananthapuram. Local tradition has it that Ananthapadmanabha of Thiruvananthapuram had settled down here originally.
Anantheswara temple: The fame of Manjeshwaram lies in the famous Srimad Anantheswara Temple owned by the Gowda Saraswath community. Itttracts pilgrims from all over India, particularly from the region lying between Kanyakumari and Goa. The annual car Festival of the temple is on the sixth Lunar Day of the bright half of the Margashira month, usually between the third week of November and the third week of December. It is also called the Shashti Festival as the final day celebration takes place on the Skanda Shashti day , a day sacred to Subrahmanya. In the outer round of the temple, there is a flower garden named Anantha Nandana Vana.
Bela church: About 11 kms. from Kumbla on the Kumbla-Badiadka road, is the Mother Dolorus Church of Bela. This Gothic style Roman Catholic church which is under the Mangalapuram Diocese, has celebrated its centenary recently.The Christian church at Kasaragod has also celebrated its centenary recently. The St. Thomas Church at Chittarikal is another famous one. The eastern parts of the district about in a number of small and big churches.
Kizhur Sasta temple: There is an ancient Sastha temple at Chandragiri which is known as Kizhur Sastha Temple. This is the headquarters of the Anjooru Nayanmar (five hundred Nairs). The festival which is peculiar to this temple is Pattu Utsavam. Troups of professional singers sing jointly in praise of the greatness of the deity. The dignitaries of all the Kazhakams of Saliyas from Pattuvam to Panamboor (present new Mangalapuram) known as Pathinalu Nagaram assemble here annually on the second Saturday of Vrischikam (November).
Kumbla Sri Gopala Krishna temple: Two of the four sacred temples of Kumbla Seema are located in Kumbla and its suburbs. They are the Mujankavu Sri Parthasaradhi Temple and Kanipura (Kaniyara) Sri Gopalakrishna Temple. Kumbla is also called Kanipura (Kaniyara) after the latter temple.
The temple of Sri Parthasarathi of Mujankavu is situated in Ednad village, about four kms. east of Kumbla and about eight kms. north west of Madhur.
The Sri Gopalakrishna Temple, is situated in the heart of the town of Kumbla at the foot of an elevated hill which rises majestically in front of it, with the Kumbla river flanking it on the left (north). The colourful festival at Kumbla temple which lasts for five days every year, commences with the Dhwajaarohanam on the Makara Sankramana day. People in thousands from all over the region attend these festivities.
Madhur temple: At Madhur, eight kms. north east of Kasaragod, is the famous Madhur Srimad Anantheswara Vinayaka temple. The imposing structure of the temple, with its turrets and gables and the copper plate roofing, rises majestically against the beautiful landscape of hills, paddy fields and gardens with the river Madhuvahini flowing leisurely in front of it.
The Madhur temple is a Siva temple with Srimad Anantheswara as its presiding deity. The Sivalingam of the temple is said to have been found by a harijan woman, Madharu.
A special festival associated with the Madhur temple is the Moodappa seva.The large figure of Maha Ganapathi is covered with appam. It requires enormous quantities of rice and lakhs of rupees for its conduct. The festival is conducted only periodically in view of the huge expenditure involved.It was celebrated in April 1962 after a lapse of about 160 years, and very recently in April 1992. The ceiling of the Namaskara Mantapam of the Madhur Temple has been decorated with beautiful figures of puranic heroes in wood carving. A closer examination of the wood carvings would disclose the various episodes of the Ramayana, beginning with the Putrakame-shtiyagam and ending with Seetha Swayamvaram.
The Mantapam in the interior of the temple building as well as the outside façade of the second and third storeys of the main building are also profuse with attractive and exquisite wood carvings.
Malik Dinar mosque: Kasaragod acquired over the years, considerable importance as a centre of Islam on the west coast. It is the site of one of the mosques believed to have been founded by Malik Ibn Dinar. The mosque, Juma Masjid, which is one of the best kept and most attractive in the district, is located at Thalangara.It contains the grave of Malik Ibn Mohammed, one of the descendants of Malik Ibn Dinar and the place is sacred to Muslims. Another notable mosque, in Kasaragod is the Theruvath Mosque which is in the centre of the town. An important local celebration takes place every year in commemoration of the arrival of Malik Ibn Dinar. The Uroos attract pilgrims from all over India.
Narampady church: This is a Roman Catholic church on the Badiadka-Mulleria route, about 10 kms. from Badiadka. This is known as St. John Britto Church and this was established in 1939.
Nellikkunnu mosque: Uroos, celebrated in Nellikkunnu mosque, attracts people in thousands. The Nercha celebration, during the second half of November, lasts for one week.
Perne: Of the 18 temples of Muchilottu Bhagavathi, Perne is the northern most and the only one north of Payaswini Seema. It is five kms. east of Kumbla and near Ananthapuram Lake Temple, on the Kumbla-Badiadka route . The mass marriage at the time of Pooram festival in the month of Meenam, is a unique feature of this temple.
Temples of Kasaragod Town: Kasaragod has a few important temples. Of these, the Mallikarjuna temple, situated near the taluk office, is the most important. The annual festival have falls in the month of March and it attracts huge crowds.
One of the most important temples of the Gowda Saraswathas in Kerala is the Venkatramana temple.The Sri Arya Karthyayani temple and the Sri Panduranga temple are also famous temples of the place.
Just on the eastern side of Pulikunnu by the Payaswini river, there is a temple belonging to the Thiyya community where thirty nine deities are worshipped. The main festival here, called Kaliyattam, falls in February/March. There is also the Palakunnu temple (near Malik Ibn Dinar mosque) akin to the Palakunnu Devasthanam of Udma. Bhagavathi temples, such as Theruvath Bhagawathi and Kadappuram Sri Kurumba temples, are spread all over the municipal area, worshipped by particular communities.
Thrikkaripur Sri Chakrapani temple: Sri Chakrapani temple has a hoary past with a legend about its origin in the ancient Brahmandapurana. The great sage Garga, according to the legend describer many a holy place in Bharath Varsha including Sri Chakrapani Temple to Yudhishtira, when the Pandava were dwelling in the Gandhamadana Sailya Forest during their twelve year exile. Thrikkaripur where the temple is situated, is about 40 kms. north of Kannur town. The temple has been bestowing spiritual solace and prosperity for generations.
Trikkannad: This is a Siva temple on the sea shore, within one km. of the Bekal bridge. The place arround Pandyan Kallu, a rock rising above the sea near the temple, is an ideal spot for adventurous swimmers. Swimming in the sea is a popular sport here.
Palakunnu Bhagavathi Kshetram is one km. north of Trikkannad on the Kasaragod-Kanhangad road. The annual Bharani festival attracts thousands.
PLACES OF TOURIST INTEREST
Bekal Fort: Bekal, situated on the seashore of Pallikkara village, is an important place of tourist interest in the district. It lies 12 kms. south of Kasaragod town. According to Bekal Rama Nayak, a local Kannada writer, the word, Bekal is derived from the word Baliakulam, meaning Big Palace. The place is said to have been the seat of a big palace in the past. The term Baliakulam got corrupted as Bekulam and later as Bekal.
Bela church: About 11 kms. from Kumbla on the Kumbla-Badiadka road, is the Mother Dolorus Church of Bela. This Gothic style Roman Catholic church which is under the Mangalapuram Diocese, has celebrated its centenary recently.The Christian church at Kasaragod has also celebrated its centenary recently. The St. Thomas Church at Chittarikal is another famous one. The eastern parts of the district about in a number of small and big churches.
Kizhur Sasta temple: There is an ancient Sastha temple at Chandragiri which is known as Kizhur Sastha Temple. This is the headquarters of the Anjooru Nayanmar (five hundred Nairs). The festival which is peculiar to this temple is Pattu Utsavam. Troups of professional singers sing jointly in praise of the greatness of the deity. The dignitaries of all the Kazhakams of Saliyas from Pattuvam to Panamboor (present new Mangalapuram) known as Pathinalu Nagaram assemble here annually on the second Saturday of Vrischikam (November).
Kumbla Sri Gopala Krishna temple: Two of the four sacred temples of Kumbla Seema are located in Kumbla and its suburbs. They are the Mujankavu Sri Parthasaradhi Temple and Kanipura (Kaniyara) Sri Gopalakrishna Temple. Kumbla is also called Kanipura (Kaniyara) after the latter temple.
The temple of Sri Parthasarathi of Mujankavu is situated in Ednad village, about four kms. east of Kumbla and about eight kms. north west of Madhur.
The Sri Gopalakrishna Temple, is situated in the heart of the town of Kumbla at the foot of an elevated hill which rises majestically in front of it, with the Kumbla river flanking it on the left (north). The colourful festival at Kumbla temple which lasts for five days every year, commences with the Dhwajaarohanam on the Makara Sankramana day. People in thousands from all over the region attend these festivities.
Madhur temple: At Madhur, eight kms. north east of Kasaragod, is the famous Madhur Srimad Anantheswara Vinayaka temple. The imposing structure of the temple, with its turrets and gables and the copper plate roofing, rises majestically against the beautiful landscape of hills, paddy fields and gardens with the river Madhuvahini flowing leisurely in front of it.
The Madhur temple is a Siva temple with Srimad Anantheswara as its presiding deity. The Sivalingam of the temple is said to have been found by a harijan woman, Madharu.
A special festival associated with the Madhur temple is the Moodappa seva.The large figure of Maha Ganapathi is covered with appam. It requires enormous quantities of rice and lakhs of rupees for its conduct. The festival is conducted only periodically in view of the huge expenditure involved.It was celebrated in April 1962 after a lapse of about 160 years, and very recently in April 1992. The ceiling of the Namaskara Mantapam of the Madhur Temple has been decorated with beautiful figures of puranic heroes in wood carving. A closer examination of the wood carvings would disclose the various episodes of the Ramayana, beginning with the Putrakame-shtiyagam and ending with Seetha Swayamvaram.
The Mantapam in the interior of the temple building as well as the outside façade of the second and third storeys of the main building are also profuse with attractive and exquisite wood carvings.
Malik Dinar mosque: Kasaragod acquired over the years, considerable importance as a centre of Islam on the west coast. It is the site of one of the mosques believed to have been founded by Malik Ibn Dinar. The mosque, Juma Masjid, which is one of the best kept and most attractive in the district, is located at Thalangara.It contains the grave of Malik Ibn Mohammed, one of the descendants of Malik Ibn Dinar and the place is sacred to Muslims. Another notable mosque, in Kasaragod is the Theruvath Mosque which is in the centre of the town. An important local celebration takes place every year in commemoration of the arrival of Malik Ibn Dinar. The Uroos attract pilgrims from all over India.
Narampady church: This is a Roman Catholic church on the Badiadka-Mulleria route, about 10 kms. from Badiadka. This is known as St. John Britto Church and this was established in 1939.
Nellikkunnu mosque: Uroos, celebrated in Nellikkunnu mosque, attracts people in thousands. The Nercha celebration, during the second half of November, lasts for one week.
Perne: Of the 18 temples of Muchilottu Bhagavathi, Perne is the northern most and the only one north of Payaswini Seema. It is five kms. east of Kumbla and near Ananthapuram Lake Temple, on the Kumbla-Badiadka route . The mass marriage at the time of Pooram festival in the month of Meenam, is a unique feature of this temple.
Temples of Kasaragod Town: Kasaragod has a few important temples. Of these, the Mallikarjuna temple, situated near the taluk office, is the most important. The annual festival have falls in the month of March and it attracts huge crowds.
One of the most important temples of the Gowda Saraswathas in Kerala is the Venkatramana temple.The Sri Arya Karthyayani temple and the Sri Panduranga temple are also famous temples of the place.
Just on the eastern side of Pulikunnu by the Payaswini river, there is a temple belonging to the Thiyya community where thirty nine deities are worshipped. The main festival here, called Kaliyattam, falls in February/March. There is also the Palakunnu temple (near Malik Ibn Dinar mosque) akin to the Palakunnu Devasthanam of Udma. Bhagavathi temples, such as Theruvath Bhagawathi and Kadappuram Sri Kurumba temples, are spread all over the municipal area, worshipped by particular communities.
Thrikkaripur Sri Chakrapani temple: Sri Chakrapani temple has a hoary past with a legend about its origin in the ancient Brahmandapurana. The great sage Garga, according to the legend describer many a holy place in Bharath Varsha including Sri Chakrapani Temple to Yudhishtira, when the Pandava were dwelling in the Gandhamadana Sailya Forest during their twelve year exile. Thrikkaripur where the temple is situated, is about 40 kms. north of Kannur town. The temple has been bestowing spiritual solace and prosperity for generations.
Trikkannad: This is a Siva temple on the sea shore, within one km. of the Bekal bridge. The place arround Pandyan Kallu, a rock rising above the sea near the temple, is an ideal spot for adventurous swimmers. Swimming in the sea is a popular sport here.
Palakunnu Bhagavathi Kshetram is one km. north of Trikkannad on the Kasaragod-Kanhangad road. The annual Bharani festival attracts thousands.
PLACES OF TOURIST INTEREST
Bekal Fort: Bekal, situated on the seashore of Pallikkara village, is an important place of tourist interest in the district. It lies 12 kms. south of Kasaragod town. According to Bekal Rama Nayak, a local Kannada writer, the word, Bekal is derived from the word Baliakulam, meaning Big Palace. The place is said to have been the seat of a big palace in the past. The term Baliakulam got corrupted as Bekulam and later as Bekal.
It was usual in older days for every royal palace to be protected by a fort. The Bekal fort might have, therefore, existed even from early days of the Chirakkal Rajas. While giving a description of the Kolathiri Kingdom in his Kerala History, K.P. Padmanabha Menon writes; "The eldest of the male members reigned as soveriegn Kolathiri. The next in succession, the heir apparent, was the Thekkelamkur. The residence assigned to him was the Vadakara fort. The third in succession was the Vadakkelamkur in charge of Vekkolath fort. This V(B)ekkolath fort is identified by some scholars as the present Bekal".
H.A. Stuart, in his Handbook of South Canara (1985), makes this observation: "….. Several forts were built by the Shivappa Nayaks of Badnore between 1650 and 1670 A.D. The two forts of Bekal and Chandragiri were originally under the Kolathiri or Chirakkal Rajas until the time of Shivappa Nayaka's invasion. Perhaps, the Bednore rulers might have rebuilt and improved it".
The Bekal fort, which is of great historical and archaeological interest, is the largest and best preserved of its kind in the district and the land on which it is situated, runs into the sea with fine bay towards the south. According to the South Canara Mannual, Bekal fort fell into the hands of Haider Ali in 1763. It housed the Huzur of Canara during Tippu's time and the remains of a gallow reminiscent of the days of Mysorean occupation were seen here till a few years back. After the overthrow of Tippu Sultan in 1799, Bekal was incorporated into the dominions of the English East India Company. The erstwhile Kasaragod taluk of South Canara district was known as Bekal for more than half a century. The Bekal fort is now under the Archeological Department of the Government of India.
There is a Travellers' Bungalow, maintained by the Public Works Department of the State Government within the Bekal fort. The natural scenery at Bekal is alluring and makes a visit to the place an exhilerating experience. There is a recently renovated temple dedicated to Hanuman, at the entrance to Bekal. An old mosque is also situated very near the fort and this is believed to have been founded by Tippu Sultan.
It was in the year 1992 the central government declared Bekal Fort as a special tourism area. It was with the intention of transforming BekalFort into international tourism centre that in the year 1995 the government formed Bekal Tourism Development Corporation.
It is in Chemmanad, Udma, Pallikkara and Ajanur Panchayats that of the Bekal tourism project is implemented. At present the corporation is engaged in arranging basic facilities for the project. Corporation has decided to acquire 278 hectares of land for Bekal development.
Plans for bettering and increasing basic facilities will be implemented in the four panchayats where Bekal tourism project is implemented. Water supply scheme for the entire people of Pallikkara, Udma, Ajanur and Chemmanad will be implemented. In the first phase, programmes like waste incineration, road construction and installation of street lights will also be carried out.
B.R.D.C. has programme to develop other tourist centres of the district as part of Bekal project. Two House boats have already started functioning at Valiyaparambu this year itself. Boats clubs will be established at Bekal and Chandragiri soon. A Bekal facility centre was established in 1998 near Bekal Fort. In the facility centre there is an information centre.
H.A. Stuart, in his Handbook of South Canara (1985), makes this observation: "….. Several forts were built by the Shivappa Nayaks of Badnore between 1650 and 1670 A.D. The two forts of Bekal and Chandragiri were originally under the Kolathiri or Chirakkal Rajas until the time of Shivappa Nayaka's invasion. Perhaps, the Bednore rulers might have rebuilt and improved it".
The Bekal fort, which is of great historical and archaeological interest, is the largest and best preserved of its kind in the district and the land on which it is situated, runs into the sea with fine bay towards the south. According to the South Canara Mannual, Bekal fort fell into the hands of Haider Ali in 1763. It housed the Huzur of Canara during Tippu's time and the remains of a gallow reminiscent of the days of Mysorean occupation were seen here till a few years back. After the overthrow of Tippu Sultan in 1799, Bekal was incorporated into the dominions of the English East India Company. The erstwhile Kasaragod taluk of South Canara district was known as Bekal for more than half a century. The Bekal fort is now under the Archeological Department of the Government of India.
There is a Travellers' Bungalow, maintained by the Public Works Department of the State Government within the Bekal fort. The natural scenery at Bekal is alluring and makes a visit to the place an exhilerating experience. There is a recently renovated temple dedicated to Hanuman, at the entrance to Bekal. An old mosque is also situated very near the fort and this is believed to have been founded by Tippu Sultan.
It was in the year 1992 the central government declared Bekal Fort as a special tourism area. It was with the intention of transforming BekalFort into international tourism centre that in the year 1995 the government formed Bekal Tourism Development Corporation.
It is in Chemmanad, Udma, Pallikkara and Ajanur Panchayats that of the Bekal tourism project is implemented. At present the corporation is engaged in arranging basic facilities for the project. Corporation has decided to acquire 278 hectares of land for Bekal development.
Plans for bettering and increasing basic facilities will be implemented in the four panchayats where Bekal tourism project is implemented. Water supply scheme for the entire people of Pallikkara, Udma, Ajanur and Chemmanad will be implemented. In the first phase, programmes like waste incineration, road construction and installation of street lights will also be carried out.
B.R.D.C. has programme to develop other tourist centres of the district as part of Bekal project. Two House boats have already started functioning at Valiyaparambu this year itself. Boats clubs will be established at Bekal and Chandragiri soon. A Bekal facility centre was established in 1998 near Bekal Fort. In the facility centre there is an information centre.
Chandragiri: Chandragiri lies three kms. south of Kasaragod town. It has a large square situated high above the Chandragiri river on its southern bank. The fort it said to have been built in the 17th century by Sivappa Nayak of Bednore, who established his authority over the area and built a chain of forts. The Chandragiri river, on the bank of which it rises, marked the traditional boundary between Kerala and the Tuluva Kingdom. There is a beautiful bridge over the Chandragiri river at Tekkil, five miles from Chandragiri. A mosque is situated nearby and the view of the bridge with the mosque in the background is one of the most attractive sights on a drive along the NH 17 from Kannur to Kasaragod. A long railway tunnel passes through Chandragiri. A boat club has been recently started here.Cheruvathur: Cheruvathur is an important place on the NH 17. The former Mangalore-Cheruvathur coast road starts from Mangalapuram, the headquarters of the South Canara district and runs through the coast line, till it reaches Cheruvathur.
The Kunniyur family in Kuttamath Amsom near Cheruvathur has produced a number of illustrious scholars who have contributed greatly to Malayalam literature.
Edneer mutt: Situated on the Kasaragod-Puthur road, about eight kms. north east of Kasaragod town, this ancient mutt is a reputed seat of learning. It attracts devotees from all over Kerala, Karnataka and other states.
This belongs to the Thotakacharya (one of the four disciples of Sankaracharya) tradition. Vadakke mutt in Trissur was established by a disciple of Thotakacharya. The Swamiji of this mutt was the founder of Padinjare mutt in Trichambaram and Edneer mutt was established by the swamiji of Trichambaram. At present the mutt is renowned for the encouragement it gives to art and culture.
Govinda Pai memorial: Manjeshwaram is renowned as the native place of M. Govinda Pai (1883-1963), one of the greatest Kannada poets of modern times. He has enriched Kannada literature and poetry. He was conferred the title of "poet laureate" by the erstwhile Government of Madras. He was also a nationalist, historian, dramatist and linguistic.His residence in Manjeshwaram is maintained as a memorial and the Government of Kerala has established a first grade college dedicated to his memory.
Hosdurg fort: The Hosdurg fort with its round bastions, looks imposing from a distance. Several public offices are located within its premises. There is a famous temple attached to the fort which is known as Karpooreshwara temple. The fort is a major attraction for tourists. In Kanhangad, there are two churches; one Catholic and the other a Protestant. There are also a number of mosques here.
Kammatamkavu: An evergreen forest of about 50-60 acres, with a perennial stream, is a centre of worship connected with the Kammatam Bhagavathi Temple.
Kanhangad: Kanhangad, the headquarters of the Hosdurg taluk, is 33 kms. south of Kasaragod. It has an area of 32 sq. kms. and a population of 23,621. Kanhangad has the reminents of a large fort built by Somasekhara Nayak of Ikkeri (1714-39). It is locally called Hosdurg (hosa, new and durg, fort) and it is after this fort that the Hosdurg taluk derives its name.
Kanwatirtha Beach resort: The clean and neat 3-4 kms. long beach and the swimming pool like lake, half a km. long and proportionately broad, formed by sea water, are gift of nature.
Kasaragod town: Kasaragod municipal town is situated on the banks of the Chandragiri river and is 31 m. above sea level. Kasaragod is an important business centre. Arecanuts and copra are the main trade.Pepper, copra and cashew- nuts are the important commodities transported from here. One of the important local industries is cloth cap making, which is the main means of livelihood of a large number of Muslim women. The caps manufactured at Kasaragod are exported to Zanzibar and other African countries.
Kasaragod is one of the minor ports of the district. The port is located on the eastern bank of the backwaters formed by the Chandragiri river, which is separated from the sea by a sand spit of about one kilometer length. Schooners do not call at this port but anchor outside the bar. Being the district headquarters, Kasaragod is a fairly developed urban centre. There are a number of educational institutions in the town. The Government College, Kasaragod, established in 1957, is the premier educational institution of the place.
Kottancheri hills: This rain forest near Panathur, is a beautiful picnic centre which is also ideal for trekking. 'Talakkaveri', in the Brahmagiri mountains of Coorg, is quite near Kottancheri Hills.
Kottappuram: The place derived its name from the mud fort built by the Nileswar Rajas and later annexed by the Bednore Nayakas in the 18th century. A Juma Masjid and a Hindu shrine stand close by.
Kudlu: It was at Kudlu in the suburbs of Kasaragod, where the famous eight day discourse between Madhavacharya, the great Dwaita philosopher and Trivikrama Pandit, the famous Adwaita scholar, took place. The discourse held in the presence of king Jayasimba of Kumbla, ended in the victory of Madhavacharya and the acceptance of the Dwaita philosophy by Trivikrama Pandit.
Kumbla: Kumbla, which is situated 13 kms. north of Kasaragod town, was the seat of the Rajas of Kumbla who once held sway over the southern part of the Tuluva country which included the present Kasaragod taluk. The town stands on a bold peninsula in a lagoon seperated from the sea by a sand spit and connected to it by a narrow channel. In 1514, Duarte Borbosa, the Portuguese traveller, visited Kumbla and he had recorded that he had found the people exporting a very bad quality brown rice to Maldives in exchange for coir, from the small port here. Early in the 16th century, the port paid a tribute of 800 loads of rice to the Portuguese.
When Tippu captured Mangalapuram, the Kumbla Raja fled to Thalassery; but he returned in 1799 and after an unsuccessful bid for independence, submitted to the English and accepted a small pension of Rs. 11,788 per annum in 1804.
It was in Kumbla that Parthishubha was born in the 18th century and composed all his Yakshagana Prasangas which earned for him the title, 'Father of Yakshagana'.
Maipady palace: Once, the present Maipady was the seat of the Kumbla Rajas. The palace is about eight kms. from Kasaragod on the Kasaragod-Perla road and within three kms. from Madhur.
Manjeshwaram: Manjeshwaram lies in the northern most extremity of Kerala and is a place of historical and religious importance. According to Manjula Kshetra Mahatmya, a legend which deals with the history of the place and describes the pilgrimage undertaken by Virupaksha, a Gowda Saraswatha Brahmin saint, this village was known as Manjula Khetra, Manjukhetra or Manjarisha. The southern portion of the town stands on a plain and the northern portion, on a steep bank which overhangs the river. These two portions were held by the Jain Bangara Raja and the Vittal Raja respectively, until Tippu Sultan hanged the former and forced the latter to take refuge with the English at Thalassery. Manjeshwaram has been for long, the seat of a flourishing community of a Gowda Saraswatha or Konkini Brahmins. There are two old Jaina Bastis at Bangra Manjeshwaram on the southern bank of the Manjeshwaram river.
Nileswaram: Nileswaram, which is the abbreviated form of Nilakanta Iswar, was formerly the seat of the Nileswaram Rajas who belonged to the family of Kolathiris. It was annexed by Somasekhara Nayaka of Bednore in 1737 after a struggle of twelve years in which the French and the English took part. When the Bednore Nayaka invaded the territory, the Nileswar Raja obtained the aid of the English who had their factory at Thalassery. In 1737, a treaty was signed by which the Bednorians agreed not to advance south of the Valapattanam river and the English obtained commercial concessions including the monopoly of pepper and cardamom in those portions of the Kolathiri dominion, which were occupied by the Bednore people.
The fort at Nileswaram, however, remained in the hands of the Raja and he allied himself with the French who held the fort on his behalf till 1761. In the meantime, Bednore was captured by Haider Ali and the Raja remained in power at Nileswaram till the territory was annexed by the English in 1799 and the Raja was forced to submit and accept a pension. Among the temples of the place, mention may be made of the Sri Kottappuram Vettakorumakan temple, Mannampurathu kavu, Pallikkara Bhagavathi temple and the Thaliyil Neelakanta temple.
Nityananda Asramam: There are two notable ashramams in Kanhangad,viz.,the Nityanandasramam and the Anandasramam. The former, which is situated on the hillock about half a km. south of the Hosdurg taluk office, was founded by Swami Nityananda.The spot was at first part of a forest area. Here Swami Nityananda constructed 45 guhas (caves) in a mountain slope. There is a temple built in 1963, after the style and design of the famous Somanatha temple in Gujarat. A full size statue of Swami Nityananda in sitting posture made of panchaloha is one of the attractions of the ashramam.
Anandashramam, situated about five kms. east of the Kanhangad Railway Station, was founded in 1939 by Swami Ramadas, a great Vaishnava saint of modern times. The main ashramam and other buildings have a beautiful setting in the midst of shady mango, coconut and other groves. There is a hill to the east of the ashramam, to which the devotees retire for quiet meditation and from its west, the surrounding extensive landscape can be seen in its natural grandeur. The spot at the highest point of the hill is so fascinating that the devotees, who go up the hill and sit silently, are blessed with deep peace and tranquility.
Posadigumpe: Posadigumpe is an ideal picnic centre, located on a hillock, 487.68 metres above sea level in Dharmathadka, about 18 kms. east of Mangalpady. On top of it, one can see the Arabian sea and the vast arecanut gardens of Kasaragod, extending up to Mangalapuram city and to Kudremukh.
Ranipuram: The former Madathumala has taken this new name recently. Lying 780 metres above sea level, it is only 9 kms.from Panathur, which is 48 kms. east
of Kanhangad .The extensive forest of Madathumala merges with the forests of Karnataka.The natural beauty is comparable only to Ooty. This place is quite ideal for trekking.
Tulur vanam: Also known as Kekulom (the eastern place), Tulur vanam is four kms. east of Panathur. The temple here is consecrated to Kshetrapalan and Bhagavathi. The eight day annual festival commencing from Sivarathri, attracts large crowds from all over the district, as well as from Coorg.
Valiyaparamba: Separated from the mainland by backwaters, this fishing village is an island with the Arabian sea as one of the borders and is an ideal picnic centre.
Veeramala hills: This hill top with ruins of a Dutch fort, built in the 18th century, is a picnic spot from where the natural beauty of Kariangot river and surroundings can be enjoyed. The Cheruvathur-Kariangot portion of NH 17 runs paralleled to the hill near Mayica, Cheruvathur
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